Mediating and Disrupting the Flow

2020 ◽  
Vol 14 (2) ◽  
pp. 141-158
Author(s):  
EVELYN KREUTZER
Keyword(s):  
Media Studies ◽  
Classical Music ◽  
The Other ◽  
Student Writing ◽  
Moving Image ◽  
History Of ◽  
Listening Experience ◽  
The One ◽  
Nam June Paik ◽  
The Relationship

This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.

A Constitution for a Nonstate

2014 ◽  
Vol 43 (2) ◽  
pp. 42-58
Author(s):  
Emilio Dabed
Keyword(s):  
The Other ◽  
The Political ◽  
Constitutional Order ◽  
Economic Context ◽  
Basic Law ◽  
History Of ◽  
The One ◽  
Constitutional Regime ◽  
The Relationship ◽  
Law Making

This article sheds new light on the political history of legal-constitutional developments in Palestine in the fourteen years following the Oslo Accord. It examines the relationship between the unfolding social, political, and economic context in which they arose, on the one hand, and PA law-making and legal praxis, on the other. Focusing on the evolution of the Palestinian Basic Law and constitutional regime, the author argues that the “Palestinian constitutional process” was a major “battlefield” for the actors of the Palestinian-Israeli conflict. Thus, changes in the actors' political strategies at various junctures were mirrored in legal-constitutional forms, specifically in the political structure of the PA. In that sense, the constitutional order can be understood as a sort of “metaphoric representation” of Palestinian politics, reflecting, among other things, the colonial nature of the Palestinian context that the Oslo process only rearticulated. This perspective is also essential for understanding the evolution of the Palestinian-Israeli conflict after Oslo.

scholarly journals Armenia – Georgia – Islam A Need to Break Taboos in the Study of Medieval Architecture

2020 ◽  
Author(s):  
Patrick Donabédian
Keyword(s):  
Comparative Studies ◽  
Art History ◽  
The Other ◽  
Islamic Art ◽  
South Caucasus ◽  
Medieval Architecture ◽  
History Of ◽  
The One ◽  
The Relationship

Two important spheres of the history of medieval architecture in the Anatolia-Armenia-South-Caucasian region remain insufficiently explored due to some kind of taboos that still hinder their study. This concerns the relationship between Armenia and Georgia on the one hand, and between Armenia and the Islamic art developed in today’s Turkey and South Caucasus during the Seljuk and Mongol periods, on the other. Although its impartial study is essential for a good understanding of art history, the question of the relationship between these entities remains hampered by several prejudices, due mainly to nationalism and a lack of communication, particularly within the countries concerned. The Author believes in the path that some bold authors are beginning to clear, that of an unbiased approach, free of any national passion. He calls for a systematic and dispassionate development of comparative studies in all appropriate aspects of these three arts. The time has come to break taboos.

scholarly journals The Perspective of Overcoming Nihilism in Heidegger’s Dialogue with Jünger

2019 ◽  
Vol 30 (1) ◽  
Author(s):  
Tautvydas Vėželis
Keyword(s):  
Point Of View ◽  
The Other ◽  
Dialectical Thinking ◽  
Other Hand ◽  
History Of ◽  
Metaphysical Tradition ◽  
The One ◽  
Relationship Of ◽  
The Relationship ◽  
European Civilization

This article examines the problem of overcoming nihilism in Heidegger’s dialogue with Jünger. It is suggested that nihilism is manifested in various forms and is the deep logic of the whole history of European civilization. One of the main aims of this paper is to outline the relationship of nihilism and Nothing in Heidegger’s dispute with Jünger, viewing how Heidegger distinguishes his approach from Jünger’s point of view. Heidegger, on the one hand, treats nihilism as consummation of the Western metaphysical tradition, on the other hand, identifies Nothing itself as the shadow of Being, which cannot be overcome in the traditional dialectical thinking manner.

Hammer and British Cinema

2016 ◽  
pp. 23-34
Author(s):  
Victoria Grace Walden
Keyword(s):  
Social Responsibility ◽  
The Other ◽  
National Cinema ◽  
Moving Image ◽  
Good Taste ◽  
The Press ◽  
British Cinema ◽  
History Of ◽  
The 1960S ◽  
The Relationship

This chapter examines the relationship between Hammer Films and British cinema. The history of British cinema has been characterised by a strong dedication to realism, in its many forms. From the documentaries of the 1930s with a focus on social responsibility to the gritty kitchen sink dramas of the 1960s, and even the naturalistic aesthetic of television police dramas, the British moving-image industries have a strong heritage of realism. If this is the case, Hammer horror, despite its international fame as a specifically British brand of filmmaking, does not seem characteristic of British national cinema at all. On one hand, Hammer's horrors are clearly fantastical; on the other hand, they amalgamate infrequent and abrupt moments of gore with a 'neat unpretentious realism'. Moreover, the films were lambasted in the press for not exhibiting 'good taste' or restraint. The chapter then assesses to what extent Hammer horror can be understood as British.

‘Abd al-Qādir al-Marāghī and ‘Alī b. Muḥammad Binā'ī: two fifteenth-century examples of notation Part 2: Commentary

1995 ◽  
Vol 58 (1) ◽  
pp. 17-39
Author(s):  
O. Wright
Keyword(s):  
Fifteenth Century ◽  
The Other ◽  
Text Setting ◽  
Musical Practice ◽  
Reliable Evidence ◽  
History Of ◽  
The One ◽  
History Of Composition ◽  
The Relationship ◽  
Shed Light

Part 1 of this paper was concerned principally with the various problems that confront any attempt to provide a satisfactory transcription of these two examples. Given the nature of the difficulties encountered, it is clear that any generalizations we might wish to derive from them can only be tentative and provisional. Nevertheless, the paucity of comparable material, which on the one hand renders the interpretative hurdles all the more difficult to surmount, on the other makes the urge to draw at least some conclusions from the material provided by ‘Abd al-Qādir al-Marāghī and Binā'ī well-nigh irresistible. Such conclusions would involve, essentially, an assessment of the extent to which their notations shed light on the musical practice of the period and provide reliable evidence for the history of composition and styles of textsetting. But in any evaluation of this nature it is essential to avoid the temptation to confuse the sources with the speculative editorial interventions that produce the versions presented in part 1 (exs. 26–8 and 30). The area about which least can be said with regard to the naqsh notated by Binā'ī is, therefore, the nature of the text-setting, while with regard to ‘Abd al-Qādir al-Marāghī's notations it is, rather, the first topic we may consider, the relationship between melody and the underlying articulation of the rhythmic cycle.

Violence and Hyperbole

2016 ◽  
Author(s):  
Michael Naas
Keyword(s):  
Death Penalty ◽  
The Other ◽  
Subsequent Work ◽  
History Of ◽  
Philosophical Texts ◽  
The One ◽  
The Relationship ◽  
The Way

The aim of this essay is to understand the underlying motivation behind Derrida’s initial objections to Foucault in his 1963 “Cogito and the History of Madness” and the way these objections anticipate so much of Derrida’s subsequent work. Beyond a disagreement over how to read a crucial moment in Descartes’ Meditations regarding the Cogito’s relation to madness, the “Cogito” essay provides a full-fledged theory of the relationship between history, language, and reason, on the one hand, and madness, silence, and death, on the other. Only through understanding this configuration is it possible to understand why Derrida would call Foucault’s The History of Madness not just a mistaken or misguided text but a “totalitarian” one. After outlining the reasons for Derrida’s strident critique of Foucault’s work on the basis of this underlying opposition between history and madness or reason and silence, Naas demonstrate how this same configuration is at work in early texts such as “Violence and Metaphysics,” right up through Derrida’s final seminars on The Beast and the Sovereign and, especially, The Death Penalty. Naas concludes by pointing out that while Derrida’s theoretical questions were always very different than Foucault’s, both thinkers ended up, curiously, on the same side in their critique of today’s carceral system and its forms of punishment. Only by taking into account both the similarities and the differences between Derrida and Foucault, in both their political positions and their philosophical texts, can we today really “do justice” to the history of their infamous debate.

Cinema's Doppelgängers

2021 ◽  
Author(s):  
Doug Dibbern
Keyword(s):  
The Other ◽  
Political Organization ◽  
Historical Time ◽  
New Wave ◽  
Fritz Lang ◽  
Sergei Eisenstein ◽  
French New Wave ◽  
History Of ◽  
The One ◽  
The Relationship

Cinema’s Doppelgängers is a counterfactual history of the cinema – or, perhaps, a work of speculative fiction in the guise of a scholarly history of film and movie guide. That is, it’s a history of the movies written from an alternative unfolding of historical time – a world in which neither the Bolsheviks nor the Nazis came to power, and thus a world in which Sergei Eisenstein never made movies and German filmmakers like Fritz Lang never fled to Hollywood, a world in which the talkies were invented in 1936 rather than 1927, in which the French New Wave critics didn’t become filmmakers, and in which Hitchcock never came to Hollywood. The book attempts, on the one hand, to explore and expand upon the intrinsically creative nature of all historical writing; like all works of fiction, its ultimate goal is to be a work of art in and of itself. But it also aims, on the other hand, to be a legitimate examination of the relationship between the economic and political organization of nations and film industries and the resulting aesthetics of film and thus of the dominant ideas and values of film scholarship and criticism.

scholarly journals A consideration of the impeccability of Christ

2016 ◽  
Vol 50 (1) ◽  
Author(s):  
Lazarus E. Kanniah ◽  
Carel F.C. Coetzee
Keyword(s):  
Point Of View ◽  
The Other ◽  
Main Body ◽  
History Of ◽  
Historical Theology ◽  
The One ◽  
The Relationship ◽  
Church Councils

The following study seeks to investigate the impeccability of Christ from a historical-theological point of view. Two camps emerge on either side of the debate. The one camp is those who hold to the posse non peccare view, which is to say the ability not to sin, otherwise known as the peccability view. The other camp holds to the non posse peccare view which is to say inability to sin, otherwise known as the impeccability view. While both camps affirm the sinless perfection of Christ they oppose each other about whether he could have sinned if he had wanted to. It boils down to a case of ‘could have but did not’ or ‘did not because He could not have’. It is the view of this article that the non posse peccare view squares with historical theology. By surveying church councils up to the present time, we aim in the introduction to prove that the history of this issue matters in that it establishes the relationship between Christology and history in relation to the origin of sin. In the first section of the main body we survey and evaluate the position from a peccability viewpoint while, at the same time, proposing and validating our points of departure. In the second section we assess and acknowledge the argument for impeccability by proving the necessity of it for the exoneration of Christ’s Person.

scholarly journals Disciplining Media Studies: An Expanding Field and its (Self-) Definition

2019 ◽  
Author(s):  
Jens Schröter
Keyword(s):  
Social Sciences ◽  
Cultural Studies ◽  
Media Studies ◽  
The Other ◽  
Special Focus ◽  
Self Reflection ◽  
The Social ◽  
History Of ◽  
The One ◽  
Anglophone World

This chapter is a modified translation of the foreword to the Handbuch Medienwissenschaft(Handbook of Media Studies, Schröter ed.) published in Germany in 2014. The purpose ofthis handbook is to provide an overview of the vibrant and heterogeneous field ofkulturwissenschaftliche Medienwissenschaft – media studies as oriented toward humanitiesand cultural studies interests and approaches rather than those of communication studiesand the social sciences, subsequently referred to simply as “media studies.” Some of thecategories used to structure the handbook have been generated from the historicaldiscussions in the field; and inevitably, these same historical discussions have shown thedifficulties of defining the external boundaries of the field of media studies, its internaldifferentiations and the way they re-connect to traditional disciplines. It gives an overview ofthe history of the disciplinary constitution of ‘media studies’ with a special focus on differentapproaches to disciplinary self-reflection that have accompanied the field from the verybeginning.2 In this way, it introduces the reader to a variety of sources not very well known inthe Anglophone world. Therefore, the penultimate section of this chapter, originally titled “The structure of this handbook” might on the one hand appear to some to be too specific for the current volume. On the other hand, however, it serves as a concrete example of how the field may be configured.

scholarly journals Team 10, Lisbon, 1981. The Lost Meeting

2019 ◽  
pp. 100-117
Author(s):  
Leonor Cabral Matos Silva
Keyword(s):  
The Other ◽  
Team 10 ◽  
History Of ◽  
History Of Architecture ◽  
The One ◽  
Relationship Of ◽  
The Relationship

Team 10 and Lisbon share a piece of history: namely, a few elements of Team 10, such as Alison and Peter Smithson, Amâncio Miranda Guedes, Giancarlo de Carlo and Jullian de la Fuente, and the Lisbon School of Architecture (or the “Lisbon School”). This text is about the specifics of this conjunction. This paper explores the short but necessary question of whether there was a last formal Team 10 meeting in Lisbon in 1981, and from that point on, it goes back to present: (1) a disclosure of the history of the word ‘revision’ within the teaching of architecture in the school, one which portraits the coming of the Team 10 elements just mentioned; it then (2) outlines the relationship of Team 10 elements with the Lisbon School, namely highlighting, on the one side, the school’s official attitude of support, and on the other side, the pedagogical grounds’ relative disinterest; and finally (3), the text suggests there is no clear answer to the question of whether there had been a formal Team 10 final meeting in Lisbon in 1981. Therefore, in conclusion, it delivers an argument about Lisbon being more than an informal gathering derived from a reunion intention; it considers this a happening that might just now emerge from the unspoken history of architecture as nothing more than a delicate moment, although it was Team 10’s last significant moment.

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